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Since I needed to up my poly counts on my simmed goodies to have a shot at the Daz store, I've gone from meshes with 1-2k polys up to 10-15k, with the resulting polys being smaller than the polys in the base figures (they have more polys, but also have hands, mouths, etc., which use up a lot of geometry). Before, with a looser mesh, I wouldn't get as supple folding on the cloth. Subdividing the meshes once or even twice yields nicer results, except…when it's directly on top of a Genesis figure. Then the denser mesh gets weird dimpling. I think thats because dForce doesn't use a subdivision algorithm in it's calculations, so it's trying to fit the simmed mesh to the edges you get from a level-0, un-subdivided mesh. At least that's what I think is happening. If I do the same sim with the collision mesh set to screen the effect is lessened. For the most part, this doesn't matter, because a smoothing modifier largely fixes it, but how annoying.
Polygons are free
https://autoweek.com/article/car-news/tesla-cybertruck-packs-genuine-truck-cred-under-its-dystopian-nightmare-bodywork Somebody needs to let Elon know.
How do You Get the Dude Packing in DAZ-landia?
Anybody know if/how you can make a male character's package bigger with clothes on? I've only used male characters a few times and never made any adjustments to whatever Daz calls the genital bump. I was thinking about doing a render with a guy in this: https://www.daz3d.com/sports-jump-suit-for-genesis-8-males with a huge package to set up some jokes. But before I buy it, I want to make sure I can get the proper effect. Is that possible? Do I need a bunch of morphs? One of the pro, um, packages?
More Fun with 32-bit Workflows
This is The Angle's beauty pass (aka, all the lights in one 32-bit EXR file) with an exposure layer applied in Photoshop. It's blow out because I didn't adjust the exposure for this screenshot. Madeline is well lit, even if the background is completely lost. However, after rendering the shot, I realized my two lights weren't quite as dramatic as I wanted. So I did some trickery with my three light passes: one environment, one for for a light that shines down the back to provide a bit of rim (which really doesn't do much), and one for the key light. The standard way to work with light passes is to layer them up over a black solid, each layer (but the black one) set to lighten. An exposure layer goes on top of that, controlling all of them, then you can make each layer transparent to decrease the influence of the light (which is why this is set to overflow—in the final mix, the environment layer was only about 20%, I think). This is each of the three layers, adjusted to where I wanted
Algorithmic Fan Art
One of my old pics got favorited today, which isn't noteworthy. But when I looked at it, I noticed it had been flagged as "Fan Art," instead of "Original Work." I can't figure out why this got tagged as fan art. One of my two Tintin tributes was correctly labeled as fan art, but the other one wasn't (it didn't have Tintin in the title). I have no beef with fan art, but I'm curious about how their algorithm works in trying to decide which works from before they had the categories fit into each one. Also, if anybody has guess as to what this might be a fan art of, I'd love to know. It's definitely not Tintin!
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